Interview with Benjamin Alard

Issue 72 has just been published! This issue’s main feature focuses on competitions, and you will find testimonials from numerous musicians. Among them is Benjamin Alard, a leading figure in the contemporary organ world, who kindly agreed to take part in this survey.

Having studied with Louis Thiry, François Menissier, Andrea Marcon, Jean-Claude Zehnder and Elisabeth Joyé, among others, Benjamin Alard is a concert artist who performs on both the organ and the harpsichord. He is widely acclaimed as one of the foremost specialists in Baroque music, particularly that of J.S. Bach. He is the titular organist of the Aubertin organ at Saint-Louis-en-l’Île in Paris, having been appointed following a competition, and is a laureate of several prestigious international competitions. Notably, he won first prize and the audience prize at the Bruges International Harpsichord Competition (2004), as well as first prize at the Silbermann Competition in Freiberg (2007).

Orgues Nouvelles: What can (or should) one expect from a competition?

Benjamin Alard: A fair selection of participants based on the ability of the jury members to judge as a group. First and foremost, a good competition has a well-composed jury capable of interacting with an intelligent, diplomatic chairperson who can unify the group. Comparison is very important. Depending on its reputation, the competition itself can help a musician’s career.

O.N.: What is the experience of a candidate in a competition?

B.A.: Often with a great deal of tension, anxiety and uncertainty. Personally, I have always been very free-spirited, even during competition rounds, which has sometimes been my downfall. It is also important to be able to bounce back after failure, which can be more difficult than recovering from success.

O.N.: Do the results truly reflect the calibre of the winners?

B.A.: Not always. It depends on the composition and integrity of the jury. A first prize that is rarely awarded is worth more than one that is awarded too frequently.
Sometimes, a candidate is indisputably the winner and all the jury members agree.

O.N.: Does winning first prize really change anything in the short or long term?

B.A.: It depends on the reputation of the competition and the opportunities that follow, such as invitations, recognition and sponsorships. Generally speaking, I would say yes.

O.N.: How does one judge an artistic practice that is, by its very nature, linked to subjective emotional content?

B.A.: It is very subjective, of course, but ultimately, music either moves and touches its audience or it does not. That is why the Audience Prize is often awarded alongside the First Prize – it’s no coincidence.

O.N.: What criteria should we rely on to make a judgement?

B.A.: Technique is undeniably important, of course. But for me, what matters most is how the candidates engage with the music (whether lyrics or improvisations) and with the audience through their instrument.
Without a strong rapport with the audience — a rapport that’s detectable almost from the first note — the choice is made rather quickly.

O.N.: Is there an alternative to making a selection, which seems inevitable when someone has to be chosen for a position?

B.A.: Co-optation isn’t a bad method; it avoids a lot of hassle.

O.N.: Is there a way to avoid a competition?

B.A.: In some cases, it’s better to have no competition at all than a flawed one.

O.N.: Or to offer it in a different form?

B.A.: I don’t think so. Competitive examinations bring everyone together in a kind of compromise. This compromise may be vague and flawed, but it is still the best option in my view.

Interview by Liesbeth Schlumberger